By Christopher Grey
Taking the guesswork out of lights, this worthy exam presents instruments and strategies from an entire professional. the main crucial rules for photograph shoots are awarded via long snapshot sequences, contemplating diverse finishes for reflective surfaces, different types of gentle assets, gentle modifiers, or even mild placements. From developing basic appears to be like to the impact of fine-tuning placement and environment, this distinct guidebook permits photographers to maximise productiveness on any shoot. Concluding with the best suggestions for fixing lights difficulties, this learn is a superb source for either lively pros in addition to intermediate to complex scholars of images.
Read or Download Christopher Grey's Studio Lighting Techniques for Photography: Tricks of the Trade for Professional Digital Photographers PDF
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Extra resources for Christopher Grey's Studio Lighting Techniques for Photography: Tricks of the Trade for Professional Digital Photographers
Softboxes vs. Umbrellas So, even though both devices were created to do the same job (take a small, contrasty light source, broaden and soften it), there’s quite a difference between how softboxes and umbrellas impact images. 13—(top left) Large umbrella at 4 feet. 14—(top right) Large umbrella at 8 feet. 15— the appearance of greater depth of light. Also, quality (bottom) Large umbrella at 12 feet. umbrellas are substantially cheaper than quality softboxes. For the cost of one high-end large softbox, you can buy at least one umbrella of every size and style.
14—(bottom) Detail photo. The shadows open up, revealing detail and When the main light is moved to 10 feet from the subject, we see that specular highlights are beginning to intrude into the visual sense of the image. The 3x4-foot softbox is now becoming a smaller source and is exhibiting those characteristics. 12). At 15 feet, we can readily see the effects of using a “smaller” source; the light is harder, specular highlights and shadows are more defined, and the overall look is a bit flatter.
JPEG AND RAW I f you feel you must shoot RAW, set your camera to shoot both large JPEG and RAW files at the same time. When you download, separate the RAWs and JPEGs into discrete folders. Look at the JPEGs first. If you find JPEGs that need to be tweaked, use the RAW files to do so. If the JPEGs are fine, trash the RAW files or just burn them to a disc. Your time savings will be enormous. 5 Let’s step back just a minute. RAW files are the digital equivalent of a film negative, allowing you up to two stops, up or down, in exposure compensation.